Move Records

Lord Berners

Berners' early music, written during his period at the British embassy in Rome during World War I, was avant-garde in style. These are mostly songs (in English, French and German) and piano pieces, many written using his original name, Gerald Tyrwhitt. Later pieces were composed in a more accessible style, such as the Trois morceaux, Fantaisie espagnole (1919), Fugue in C minor (1924), and several ballets, including The Triumph of Neptune (1926) (based on a story by Sacheverell Sitwell) and Luna Park, commissioned for a C. B. Cochran London revue in 1930.[20] His final three ballets, A Wedding Bouquet, Cupid and Psyche and Les Sirènes, were all written in collaboration with his friends Frederick Ashton (as choreographer) and Constant Lambert (as music director).[21]

Berners was also friendly with William Walton. Walton dedicated Belshazzar's Feast to Berners, and Lambert arranged a Caprice péruvien for orchestra, from Lord Berners' opera Le carrosse du St Sacrement. There are also scores for two films: The Halfway House (1943) and Nicholas Nickleby (1947), for which Ealing’s music director, Ernest Irving, provided the orchestrations.[21]

Berners himself once said that he would have been a better composer if he had accepted fewer lunch invitations. However, English composer Gavin Bryars, quoted in Peter Dickinson’s biography of Berners, disagrees saying: "If he had spent more time on his music he could have become a duller composer".[5] Dinah Birch, reviewing The Mad Boy, Lord Berners, My Grandmother and Me, a biography of Berners written by Robert's granddaughter, Sofka Zinovieff, concurs saying: "Had he committed himself to composition as his life's work, perhaps his legacy would have been more substantial. But his music might have been less innovative, for its amateur quality — 'amateur in the best sense', as Stravinsky insisted — is inseparable from its distinctive flair".[13]

Compositions by Lord Berners appear on